Rudimentos de uma inspeção topográfica aplicados à Passacaglia para orquestra, opus 1, de Anton Webern

SILVA, Alexandre Reche e. Rudimentos de uma inspeção topográfica aplicados à Passacaglia para orquestra, opus 1, de Anton Webern. Ictus - Periódico do PPGMUS/UFBA, Salvador, v. 7, p.189-208, 2010

Mapeamento das Instituições Federais de Ensino Superior da Região Nordeste do Brasil na Web

VANTI, Nadia. Mapeamento das Instituições Federais de Ensino Superior da Região Nordeste do Brasil na Web. Informação & informação, Londrina, v. 15, p. 55-67, 2010

O Sangyo em Dolls: um encontro do Bunraku com Takeshi Kitano

This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, it was initially done a theoretical study of this theater, detailing its key elements, and thus allowing a direct analysis of the film to be made. The main objective here was to reveal the film‟s connections with the Bunraku. The Sangyo refers to the simultaneous presence of three arts in the Bunraku theater: the narrative, the music and the manipulation of puppets. In Dolls, the director Takeshi Kitano presents a narrative through three different stories, all built with references to the Bunraku. As in the theater the three distinct arts harmonize on stage, in Dolls three separate stories will perform in harmony within the film. By confronting the Bunraku Theater with the film Dolls, the intention is to establish the connections between the scenic language of the Bunraku, the dramaturgy of Chikamatsu and also the cinema of Kitano. These connections allow to the understanding of how characteristics of a secular art, governed by strong rules and conventions, can be presented again through another language: the cinematic language and its particular set of codes and conventions

Crenças e quebranças de um corpo que dança: poéticas do benzimento na criação cênica

This work is a discussion of the artistic process of an artist-researcher made from field research with benzedeiras and benzedores the state of Rio Grande do Norte. This is an investigation on the cultural universe of the popular benzeção as poetic element to the artistic dance. To discuss the different stages of the research and the relationships between the artist-researcher, the benzedeiras/benzedores and the creation/composition scenic, the work takes as reference the triangular relationship created by anthropologist Claude Lévi-Strauss, in his discussion on the effectiveness of symbols of healing, adapted to the context of benzeção . For dialogue between tradition, popular knowledge, scientific and artistic knowledge this work approaches as analytical reference the epistemological model of the type rhizome proposed by Deleuze and Guattari, understanding it as a model that seeks to form a network of relations in different paths of research, to establish connections between elements without target them or subordinating them. In the universe of benzeção , benzedeiras and benzedores carry a symbolic power that issued in whispered prayers, in peculiar gestures that form crosses in space, heal those who seek your prayers and blessing. In this research, the mixture of popular knowledge, artistic and academic knowledge, born an artistic work in the context of Performing Arts, more specifically dance, and between branches, saints, candles and conversations the work allowed other looks poetic for our popular culture, (re)asserting their cultural and human values through the art